Review: La Traviata at the Royal Opera House

4 /
5 stars

La Traviata at the Royal Opera House

THERE are only three main characters in Verdi's La Traviata and when two of them have never appeared at Covent Garden before and the third drops out with a throat infection a few hours before the first night, it must be a bit worrying.

Any cause for concern, however, was soon dispelled after a nervous start as the two debutantes and the understudy settled in wonderfully.

Anyone who had seen the Russian soprano Venera Gimadieva in the role of Violetta at Glyndebourne a couple of years ago will have known they were in for a treat. Her good looks, great acting and magnificently full voice make her perfect for the role and this time she was even better than ever.

The Italian baritone Luca Salsi was also excellent combining bigoted sternness with emotion in his portrayal of Giorgio Germont, the pompous father of Violetta's lover, Alfredo.

PH

Richard Eyre's production has lost none of its appeal

Alfredo himself was played by Australian tenor Samuel Sakker, taking the place of Saimir Pirgu at very short notice. For much of the first act, he seemed nervous and his voice sometimes wandered rather higher than it ought, but after the interval, he seemed to relax considerably and fitted in remarkably well with the other two lead singers.

La Traviata is one of the great tragic love stories in opera, some would say the greatest. The Parisian courtesan Violetta gives up her high life of incessant parties and lovers to be with Alfredo.

His Dad turns up and tells her she must leave him or the family's reputation will be ruined when it becomes known that he has taken up with a fallen woman (which is what "La Traviata" means) and God himself would never bless their union. Tearfully she accedes to his demand, even though she knws she is dying of consumption.

Alfredo is understandably miffed and reacts very badly, insulting Violetta in public and challenging her new lover to a duel. Alfredo often comes over as a bit of a wimp, buffeted by circumstances he can neither control nor understand, but Samuel Sakker managed to put a welcome bit of steel into the character when he loses his temper.

Only in the last act, when she is on her deathbed, do Alfredo and his Dad return and apologise, and she dies in peace.

This production by Richard Eyre first appeared in 1994 but has lost none of its appeal. Bob Crowley's sets are glorious and direction and design combine perfectly to allow the singers to convey both the intimacy of the story and the grandeur of Parisian high life.

On February 4, the performance will be relayed live to cinemas worldwide. For details, see roh.org.uk.

Box Office: 020 7304 4000 (showing until February 6, then with a cast change from March 1-19).